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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
In The Ring
Non classifié
14 894
Piano & claviers
Piano seul
6 389
Piano, Voix
2 904
Piano Facile
2 893
Piano, Voix et Guitare
2 216
Instruments en Do
926
Orgue
657
Accompagnement Piano
327
Piano Trio: piano, violon, violoncelle
269
1 Piano, 4 mains
177
Piano grosses notes
132
Piano Quatuor: piano, violon, alto, violoncelle
97
2 Pianos, 4 mains
68
Accordéon
61
Piano Quintette: piano, 2 violons, alto, violoncelle
54
Orgue, Piano (duo)
28
Piano (partie séparée)
28
Clavecin
20
Ligne De Mélodie, Piano
20
Piano Quatuor: piano, 2 violons, violoncelle
18
Orgue, Trompette (duo)
15
Clavier
7
1 Piano, 6 mains
6
Accordéon, Voix
6
2 Accordéons
5
Instrument seul et Orgue
5
2 Pianos, 8 mains
3
Orgue, Voix
1
Ensemble d'Accordéons
1
Accordéon et Orchestre
1
+ 24 instrumentations
Retracter
Guitares
Guitare notes et tablatures
1 297
Guitare
1 005
Ukulele
523
Ligne De Mélodie, (Paroles) et Accords
406
Mandoline
304
Basse electrique
166
2 Guitares (duo)
82
Banjo
66
Dulcimer
52
Guitare (partie séparée)
48
4 Guitares (Quatuor)
30
Piano, Guitare (duo)
14
3 Guitares (trio)
13
Ensemble de guitares
7
Paroles et Accords
6
2 Ukuleles
5
Mandoline, Guitare (duo)
5
2 Dulcimers (duo)
3
Guitare, Orchestre
2
Ensemble de Ukulélés
2
Mandoline, Piano (duo)
2
Ukulele Baryton
2
Guitare Pedal Steel
1
Basse électrique (partie séparée)
1
Dobro
1
Luth
1
Guitare, Quatuor à cordes
1
Orchestre à Plectres
1
+ 23 instrumentations
Retracter
Voix
Chorale SATB
3 432
Chorale 3 parties
1 011
Chorale 2 parties
617
Chorale Unison
422
Chorale TTBB
411
Chorale SSAA
246
Voix Soprano, Piano
190
Voix Alto, Piano
174
Voix Tenor, Piano
149
Voix duo, Piano
143
Voix duo
93
Voix Baryton, Piano
88
Voix haute
46
Voix seule
35
Voix moyenne, Piano
32
Voix Tenor
28
Voix Soprano
23
Voix basse, Piano
21
Pack Instrumental pour Chorale
20
Chorale
10
Chorale SSAATTBB
10
Voix, Guitare
8
Chorale SSATB
8
Voix basse
5
Voix Mezzo-Soprano, Piano
4
Soli, choeur mixte et accompagnement
3
Chorale SSATTB
3
Chorale SSAB a cappella
1
Chorale SSATBB
1
Chorale SSAB, Piano
1
Chorale SATBB
1
+ 26 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
842
Flûte traversière et Piano
831
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
823
Clarinette et Piano
726
Clarinette
680
2 Saxophones (duo)
625
Hautbois, Piano (duo)
617
Flûte, Hautbois, Clarinette, Basson
599
Flûte traversière
553
Quintette de Saxophone: 5 saxophones
517
Saxophone Alto et Piano
512
Quatuor de Clarinettes: 4 clarinettes
440
2 Flûtes traversières (duo)
396
Saxophone Alto
395
Saxophone (partie séparée)
375
Saxophone Tenor et Piano
355
Flûte à bec Soprano
320
Saxophone Tenor
289
2 Clarinettes (duo)
287
Ocarina
285
Saxophone Soprano et Piano
277
Hautbois (partie séparée)
276
Flûte à bec Alto
233
Saxophone Baryton, Piano
223
Quatuor de Flûtes : 4 flûtes
203
3 Saxophones (trio)
199
Clarinette (partie séparée)
169
Flûte, Clarinette (duo)
160
Hautbois
155
2 Hautbois (duo)
148
Ensemble de saxophones
147
Ensemble de Clarinettes
141
3 Clarinettes (trio)
137
2 Flûte à bec (duo)
135
Quintette de Clarinettes: 5 clarinettes
110
Hautbois, Basson (duo)
105
Ensemble de Flûtes
101
Saxophone Soprano
100
Cor anglais, Piano
97
Flûte irlandaise
86
Hautbois, Clarinette (duo)
86
Trio de Flûtes: 3 flûtes
76
Quintette de Flûte : 5 flûtes
75
Saxophone, Clarinette (duo)
75
Clarinette, Violon (duo)
74
Flute (partie séparée)
73
Clarinette Basse, Piano
72
Flûte à Bec
71
Flûte, Violon, Piano
60
Clarinette, Basson (duo)
59
Saxophone Baryton
58
Flûte, Hautbois, Clarinette (trio)
57
Ensemble De Flûte à bec
56
Flûte, Violon
53
Flûte, Clarinette et Basson
53
Flûte, Violoncelle
53
Flûte et Guitare
52
Quatuor de Flûtes à bec
50
Hautbois, Violoncelle
46
Clarinette, Violoncelle (duo)
46
Clarinette, Trompette (duo)
44
Clarinette et Alto
43
Flûte à bec Alto, Piano
43
Flûte, Hautbois, Basson
40
Flûte, Alto (duo)
38
Hautbois, Clarinette, Basson (trio d'anches)
36
Cor Anglais
33
Flûte, Hautbois (duo)
32
Hautbois, Flûte
31
Saxophone
31
Flûte, Trompette (duo)
26
Flûte, Saxophone (duo)
23
Flûte à bec Tenor
21
Clarinette, Guitare (duo)
21
5 Flûtes à bec
20
Flûte, Basson et Piano
18
Flûte, Hautbois, Piano (trio)
16
Hautbois et alto (duo)
16
Hautbois, violon (duo)
16
3 Flûtes à bec (trio)
16
Flûte à Bec, Piano
15
Flûte, Violon et Violoncelle
14
Flûte, Clarinette, Cor, Basson (Quartet)
14
Flûte, Violoncelle, Piano (trio)
14
Clarinette, Harpe (duo)
13
Quintette de Clarinette: Clarinette, Quatuor à Cordes
12
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
12
Flûte à bec Soprano, Piano
12
Piccolo, Piano
12
Flûte, Clarinette, Piano (trio)
11
2 Saxophones, Piano
11
Flûte, Harpe et Violoncelle
11
2 Flûtes traversières, Piano
10
Flûte et Trio à cordes
9
Harmonica
9
Saxophone et Orgue
8
Flute, harpe et violon
8
Instruments en Mib
8
2 Clarinettes, Piano
7
Saxophone et Harpe
7
2 Clarinettes, Basson
7
3 Hautbois
7
2 Cors Anglais Et Pianoforte
7
Hautbois, Guitare (duo)
7
Clarinette, Violoncelle, Piano (trio)
6
Clarinette, Trombone (duo)
5
Clarinette Basse
5
Hautbois, trombone (duo)
5
Hautbois, Harpe
5
4 Hautbois
5
Flûte, Trombone (duo)
5
Saxophone et Guitare
4
Hautbois, Violin, Alto et Violoncelle (Quatuor)
4
Clarinette, Tuba
4
Cor anglais, Guitare (duo)
4
Flûte, Tuba (duo)
4
Clarinette, Basson, Piano (trio)
4
Flûte, Alto et Piano
4
Clarinette, Contrebasse (duo)
4
Clarinette, Orgue
3
Flûte, Violoncelle, Guitare
3
Hautbois, Violoncelle et Piano
3
Flûte traversière, Orgue (duo)
3
Piccolo
3
Clarinette, Alto et Piano (trio)
3
Cornemuse
3
Flûte, Violon, Violoncelle et Piano
3
Flute, Cor (duo)
3
Ensemble à vent
2
Hautbois, Trompette (duo)
2
Ensemble de Hautbois
2
Hautbois, Violon, Piano
2
Flûte, Clarinette, Violon (trio)
1
Flûte et Quatuor à Cordes
1
2 Flûtes à bec, Piano
1
Hautbois, Clarinette et Piano (Trio)
1
Hautbois, Basson et Piano
1
2 Hautbois, Piano
1
Flûte à bec Alto, Basse continue
1
Clarinette, Orchestre
1
Flûte, trombone et piano
1
Cor anglais et Harpe (duo)
1
Flûte, alto et harpe
1
Clarinette, trompette et piano
1
+ 139 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
850
Trompette
691
Trompette, Piano
539
Trombone et Piano
511
Cor et Piano
495
Quatuor de Cuivres : 2 trompettes, trombone, tuba
424
Cor
390
Trombone
379
Tuba et Piano
272
Tuba
257
Trombone (partie séparée)
229
Trompette (partie séparée)
220
Quatuor de Cuivres: 2 trompettes, Cor, trombone
205
2 Trompettes (duo)
171
2 Trombones (duo)
170
Quatuor de Cuivres
166
2 Cors (duo)
149
Euphonium, Piano (duo)
112
Trompette, Trombone (duo)
105
Cor anglais, Piano
97
Cor (partie séparée)
96
Quatuor de cuivres: 4 trombones
81
Ensemble de Trombones
78
Tuba (partie séparée)
66
2 Tubas (duo)
53
Ensemble de Trompettes
52
Quatuor de cuivres: 4 cors
50
Trompette, Saxophone (duo)
47
Trompette, Cor (duo)
45
Cor Anglais
33
Quatuor de cuivres: 4 trompettes
30
Ensemble de Cors
25
3 Trombones (trio)
24
Cor, Violoncelle (duo)
22
Euphonium
21
Trombone, Cor (duo)
20
4 Tubas
17
Tuba et Orgue
15
Trompette, Violoncelle (duo)
15
3 Trompettes (trio)
13
Trompette, Basson (duo)
12
3 Tubas (trio)
12
Trombone, Tuba (duo)
10
2 Euphoniums et 2 Tubas
10
Cor, Tuba (duo)
10
Euphonium, Tuba (duo)
10
2 Euphoniums (duo)
10
Bass Clef Instruments
10
Trombone basse et Piano
9
Instruments en Sib
9
Cor et Basson (duo)
9
Cor et Harpe
8
Trompette, Trombone, Piano
8
2 Cors Anglais Et Pianoforte
7
Trompette, violon (duo)
6
Trompette, Tuba (duo)
6
Trombone et orchestre
6
Trio de Cuivres
6
Trombone, Orgue
6
3 Cors (trio)
6
Trombone basse
5
Trompette, Harpe
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
4
Cor anglais, Guitare (duo)
4
Trombone, Violon (duo)
3
Trompette, Orchestre
3
2 Trompettes, Clavier (piano ou orgue)
3
2 Cors, Piano
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Cor et Orgue
2
Clarinette, Cor (duo)
2
Ensemble de Tubas
1
Cornet et orchestre
1
4 Euphoniums
1
Trompette, Violoncelle et Piano
1
Cor anglais et Harpe (duo)
1
+ 71 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
8 549
Trio à Cordes: violon, alto, violoncelle
1 450
Violon et Piano
1 195
Violon, Violoncelle (duo)
901
Violon
885
Harpe
814
Violoncelle, Piano
756
Quintette à cordes: 2 violons, alto, violoncelle, basse
720
Violoncelle
683
Alto, Piano
648
Contrebasse, Piano (duo)
606
Trio à Cordes: 2 violons, violoncelle
601
Contre Basse
568
Violon (partie séparée)
518
Contrebasse (partie séparée)
479
2 Violons (duo)
461
Alto seul
418
2 Violoncelles (duo)
300
Violon, Alto (duo)
261
Alto (partie séparée)
230
Trio à cordes: 3 violins
201
2 Altos (duo)
194
4 Violoncelles
185
Trio à Cordes: 3 violoncelles
129
Alto, Violoncelle (duo)
124
Violoncelle (partie séparée)
117
Quatuor à cordes: 4 violons
86
Trio à cordes: 3 altos
83
Violoncelle, Contrebasse (duo)
71
Quatuor à cordes : 4 altos
68
Trio à Cordes: 2 violons, alto
67
2 Harpes (duo)
60
2 Contrebasses (duo)
58
Violon, Guitare (duo)
56
Quintette à cordes: 2 violons, 2 altos, violoncelle
51
Violon, Basson (duo)
48
Piano Trio: Violon, Alto, Piano
37
Trio à cordes
31
Ensemble de Violons
31
Quintette à cordes : 2 violons, alto et 2 violoncelles
29
Harpe, Violon (duo)
28
Ensemble d'Altos
27
Harpe, Flûte (duo)
25
Alto et Basson
25
Violoncelle , Guitare (duo)
20
Harpe, Violoncelle (duo)
15
4 Contrebasses
12
Violoncelle, Orgue
10
Harpe, Voix
10
Ensemble de Violoncelles
9
2 Violons, Piano
9
Alto, Guitare (duo)
8
Violon, Clarinette, Piano (trio)
7
Flûte, Contrebasse (duo)
6
Alto et Harpe
6
Harpe, Violon, Violoncelle
6
2 Violoncelles, Piano
5
Violon, Tuba (duo)
4
Harpe, Trombone (duo)
4
Violoncelle, Orchestre
4
3 Contrebasses
3
Harpe et mandoline
3
Violoncelle, Basse continue
3
Harpe et Piano
2
Autoharp
2
Violon, Orgue
2
Violon, Contrebasse (duo)
2
2 Altos, Piano
2
Violon, Violoncelle, Clarinette
2
Alto et orchestre
1
Alto, Orgue
1
3 Harpes
1
Harpe, Quatuor à cordes
1
4 Harpes
1
+ 69 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
5 293
Orchestre à Cordes
4 169
Orchestre
1 347
Cloches
866
Orchestre de chambre
831
Ensemble Jazz
573
Ensemble de cuivres
379
Fanfare
226
Jazz combo
122
Percussion (partie séparée)
100
Ensemble de Percussions
74
Batterie
43
Batterie (partie séparée)
38
Marimba
33
Xylophone, Piano
27
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
26
Vibraphone
18
Xylophone
10
Orchestre, Violon
8
Ensemble d'École
8
Percussion
7
Instrumentation Flexible
6
Quintette de Cuivres: autres combinaisons
5
Piano et Orchestre
3
2 Xylophones
3
Big band
3
Vibraphone et Marimba
2
Caisse Claire
1
2 Caisses Claires (duo)
1
2 Marimbas
1
Conga
1
Timbales (partie séparée)
1
Bongos
1
+ 28 instrumentations
Retracter
Autres
Théorie de la musique
6
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
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ORGUE
PERCUSSION
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LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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In The Ring
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6 389 partitions trouvées
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6376
Air on the G String (HARD PIANO) from Suite No. 3 (BWV 1068) [Johann Sebastian Bach]
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Piano seul
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Johann Sebastian Bach
#
Darek
#
Air on the G String
#
Darek
#
SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1257386 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Score. 4 pages. Dare...
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Piano Solo - Level 4 - SKU: A0.1257386 Composed by Johann Sebastian Bach. Arranged by Darek. Baroque,Classical,Early Music,Wedding. Score. 4 pages. Darek #850720. Published by Darek (A0.1257386). Embark on an exhilarating musical expedition with the Air on the G String, an awe-inspiring composition from Suite No. 3 (BWV 1068) by the legendary Johann Sebastian Bach. Prepare to be spellbound as you immerse yourself in the intricate melodies and technical challenges of this hard difficulty piano arrangement, crafted for pianists who crave a formidable musical adventure.Designed for seasoned pianists seeking to push their boundaries, this hard difficulty piano sheet music unlocks the full potential of Bach's masterwork. Explore the complexities of this iconic composition, from the lightning-fast passages to the demanding fingerings, as you showcase your virtuosity and command over the instrument.The Air on the G String stands alone in its ability to evoke a profound range of emotions, from gentle introspection to triumphant grandeur. Its timeless beauty and ethereal charm mesmerize listeners, drawing them into a captivating story told through every resounding note and nuanced phrase.Unleash your passion and dive into the captivating narrative as you breathe life into this formidable masterpiece. Let your fingers dance across the keys, interpreting the cascading melodies and expressive harmonies with the utmost precision and artistry, capturing the hearts and imaginations of your audience.Whether you're preparing for a demanding performance or simply seeking to conquer a musical Everest, this hard difficulty piano sheet music will challenge and inspire you. Embrace the exhilarating journey that awaits, and revel in the satisfaction of conquering Bach's magnificent creation.Keywords: Air on the G String, hard difficulty piano sheet music, Suite No. 3, BWV 1068, Johann Sebastian Bach, exhilarating, musical expedition, intricate melodies, technical challenges, formidable musical adventure, seasoned pianists, push boundaries, full potential, lightning-fast passages, demanding fingerings, virtuosity, command over the instrument, timeless beauty, ethereal charm, profound range of emotions, gentle introspection, triumphant grandeur, captivating story, resounding note, nuanced phrase, passion, formidable masterpiece, breathe life, precision, artistry, hearts and imaginations, demanding performance, musical Everest, challenge, inspire, exhilarating journey.
$5.00
The Entertainer (MEDIUM PIANO) [Scott Joplin]
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Piano seul
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INTERMÉDIAIRE
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Ragtime
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Scott Joplin
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Darek
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The Entertainer
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Darek
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1259577 By Scott Joplin. By Scott Joplin. Arranged by Darek. 20th Century,Classical,Ragtime. Score. 3 pages. Darek #85288...
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Piano Solo - Level 3 - SKU: A0.1259577 By Scott Joplin. By Scott Joplin. Arranged by Darek. 20th Century,Classical,Ragtime. Score. 3 pages. Darek #852884. Published by Darek (A0.1259577). The Entertainer (MEDIUM PIANO) [Scott Joplin]Intermediate arrangement for pianists of The Entertainer by Scott Joplin. Intermediate version for pianists / Intermediate piano arrangement. Included: Fingering, Dynamics, Articulations and Youtube tutorial. Introducing my intermediate arrangement of The Entertainer by Scott Joplin, designed specifically for pianists seeking a more challenging yet accessible rendition of this beloved ragtime classic. Immerse yourself in the lively rhythms and captivating melodies that defined the era. This sheet music offers an engaging and enriching experience for intermediate pianists, allowing you to delve deeper into the intricate nuances of Joplin's composition. With clear and detailed notation, this arrangement strikes a balance between complexity and playability, providing an enjoyable challenge for pianists at the intermediate level. As you explore this sheet music, you'll find meticulously marked fingering suggestions that enhance your technical proficiency, ensuring smooth and seamless execution of the piece. Mastering the intricate passages and hand coordination becomes an exciting journey, as you embrace the artistry of Joplin's ragtime style. Capture the spirit of the music through meticulously annotated dynamics and articulations, adding depth and expression to your performance. These markings guide you in shaping the musical phrases, emphasizing the syncopated rhythms and contrasting elements that make The Entertainer so captivating. To further support your learning and provide comprehensive guidance, this product includes a YouTube tutorial. Witness firsthand how dynamics, articulations, and stylistic elements come together for an authentic and compelling interpretation. This intermediate arrangement of The Entertainer offers numerous benefits for pianists. Whether you're preparing for a performance, expanding your repertoire, or teaching students, this sheet music provides a rewarding and enriching musical experience. Embark on a musical journey into the vibrant energy and infectious rhythms of Joplin's ragtime era. As you navigate the intricacies of The Entertainer, you'll not only embrace the historical significance of the piece but also develop crucial musical skills such as coordination, expression, and interpretation. Experience the joy of mastering a timeless classic that has delighted audiences for generations. This intermediate arrangement allows you to confidently perform The Entertainer with flair and finesse, captivating listeners with your musicality and technical prowess. Unlock the versatility of The Entertainer as you infuse it with your personal style and creative expression. This sheet music is a valuable addition to your repertoire, whether you're an intermediate pianist seeking a captivating challenge or an educator looking for engaging teaching material. Discover the magic of Scott Joplin's ragtime masterpiece with this intermediate arrangement. With its engaging approach, detailed fingering, dynamic markings, and comprehensive tutorial, this sheet music ensures a gratifying and fulfilling journey as you master The Entertainer on the piano.
$3.00
Prelude 12 in Bb Minor Dorian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 12 in Bb Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216197 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812808. Published by Brian Golden (A0.1216197). Prelude 12 in Bb Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 21 in D Major Mixolydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 21 in D Major Mixolydi
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292437 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883010. Published by Brian Golden (A0.1292437). Prelude 21 in D Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 11 in Db Major Lydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Brian Golden
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Brian Golden
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Prelude 11 in Db Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden...
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Piano Solo - Level 4 - SKU: A0.1216196 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 11 pages. Brian Golden #812807. Published by Brian Golden (A0.1216196). Prelude 11 in Db Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 6 in G Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 6 in G Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 23 in G Major Lydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 23 in G Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 2 in A Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 2 in A Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden...
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Piano Solo - Level 5 - SKU: A0.1189809 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 12 pages. Brian Golden #789404. Published by Brian Golden (A0.1189809). Prelude 2 in A Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden   The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 1 in C Major Ionian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 1 in C Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1189545 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #789177. Published by Brian Golden (A0.1189545). Prelude 1 in C Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden.  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 17 in E Major Lydian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 17 in E Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248579 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843071. Published by Brian Golden (A0.1248579). Prelude 17 in E Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 7 in Eb Ionian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 7 in Eb Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216178 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #812790. Published by Brian Golden (A0.1216178). Prelude 7 in Eb Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube.
$5.99
Prelude 22 in B Minor Phrygian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 22 in B Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292494 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883011. Published by Brian Golden (A0.1292494). Prelude 22 in B Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 18 in C# Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 18 in C# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248586 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #843078. Published by Brian Golden (A0.1248586). Prelude 18 in C# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 20 in F# MInor Aolian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 20 in F# MInor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292438 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #883008. Published by Brian Golden (A0.1292438). Prelude 20 in F# Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 4 in D Minor Phrygian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 4 in D Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191080 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 9 pages. Brian Golden #790596. Published by Brian Golden (A0.1191080). Prelude 4 in D Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 5 in Bb Major Lydian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 5 in Bb Major Lydian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1191533 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 5 pages. Brian Golden #791032. Published by Brian Golden (A0.1191533). Prelude 5 in Bb Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 15 in B Major Mixolydian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 15 in B Major Mixolydi
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248572 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843064. Published by Brian Golden (A0.1248572). Prelude 15 in B Major Mixolydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 24 in E Minor Dorian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 24 in E Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292440 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883014. Published by Brian Golden (A0.1292440). Prelude 24 in E Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 10 in F Minor Phrygian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 10 in F Minor Phrygian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1216194 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #812805. Published by Brian Golden (A0.1216194). Prelude 10 in F Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
Prelude 16 in G# Minor Phrygian
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 16 in G# Minor Phrygia
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden #843067. Published by Brian Golden (A0.1248575). Prelude 16 in G# Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 13 in F# Major Ionian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 13 in F# Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1248571 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 3 pages. Brian Golden #843062. Published by Brian Golden (A0.1248571). Prelude 13 in F# Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 19 in A Major Ionian
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Piano seul
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 19 in A Major Ionian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1292493 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #883006. Published by Brian Golden (A0.1292493). Prelude 19 in A Major Ionian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 14 in D# Minor Dorian
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 14 in D# Minor Dorian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden ...
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Piano Solo - Level 4 - SKU: A0.1248570 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #843063. Published by Brian Golden (A0.1248570). Prelude 14 in D# Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
Prelude 8 in C Minor Aolian
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Piano seul
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AVANCÉ
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Contemporain
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Brian Golden
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Brian Golden
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Prelude 8 in C Minor Aolian
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Brian Golden
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden ...
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Piano Solo - Level 5 - SKU: A0.1216191 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 6 pages. Brian Golden #812802. Published by Brian Golden (A0.1216191). Prelude 8 in C Minor Aolian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.YouTube Link https://youtu.be/xb4E0I-vJek.
$5.99
THE GREAT WALL CONCERTO Arranged For 2 Pianos, 4 Hands
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AVANCÉ
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ROBERT VAN HORNE
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ROBERT VAN HORNE
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THE GREAT WALL CONCERTO Arrang
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White Piano International Publishing
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano - Level 5 - SKU: A0.1316925 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Classic...
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Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano - Level 5 - SKU: A0.1316925 Composed by ROBERT VAN HORNE. Arranged by ROBERT VAN HORNE. Classical,Contemporary,Film/TV,Multicultural,Romantic Period,World. 33 pages. White Piano International Publishing #905605. Published by White Piano International Publishing (A0.1316925). THE GREAT WALL CONCERTO for 2 Pianos, 4 Hands 33 Pages(Piano I Original Piano Score)           &(Piano II Orchestra Adaptation)Advanced Approx. Duration 13 minutes; 30 secondsBy ROBERT VAN HORNE Composing THE GREAT WALL CONCERTO for Piano & Orchestra was a journey of inspiration, passion, and deep personal connection for me. Having traveled to China, I was most impressed with seeing the Great Wall. Years later, I composed a musical work for piano and orchestra - a creative and classic concerto, capturing the Great Wall's grandeur and majestic attraction.My first visit to the Great Wall of China was in 1983 while engaged as a pianist onboard a cruise ship that sailed the waters of Asia. My first impression of seeing the Great Wall and the scenic landscape surrounding it, was one of awe and amazement.At that time, I did not realize the lasting effect this memorable attraction would have on me. Inspired and motivated by several cherished Chinese excursions to the Great Wall during my cruise ship engagement, I began the monumental task of scoring music for piano and orchestra several years later. An excerpt from 2008 Music Teacher of California Magazine review states “…The Great Wall Concerto is pleasant to listen to and has a retro 1940’s movie soundtrack mood about it - Rachmaninoff style chords against melodies in the strings...Listening to this piece, I imagined a film starring Joan Fontaine and Claude Rains as star crossed lovers fleeing their respective spouses on a visit to China.â€After many years of offering the original Conductor’s Piano & Orchestra Score of the concerto with instrumental parts (currently available at Sheet Music Plus and Sheet Music Direct), the Duo Piano Score of THE GREAT WALL CONCERTO for 2 Pianos, 4 Hands is now also available at those two websites.Both Piano I and Piano II parts are clearly notated with phrasing, dynamics, accents, suggested fingerings and musical word descriptions for 2 Pianos, 4 Hands performances. THE GREAT WALL CONCERTO for 2 Pianos, 4 Hands makes a wonderful and memorable performance piece for two piano recitals as well as a score for practicing with an orchestra, since Piano I is the original piano part.A 2 Pianos, 4 Hands recording or video of THE GREAT WALL CONCERTO is not available at this time, however, a 2006 recorded version with Piano & Orchestra is available for demo purposes only. Except for the piano, all other instruments included are digital samples. A YouTube video can be viewed at: http://www.youtube.com/watch?v=S_Zr10XMnJc In conclusion, THE GREAT WALL CONCERTO For Piano and Orchestra is not only a tribute to the Great Wall of China, but also to the power of music in expressing the inexpressible.Published by White Piano International Publishing Robert Van Horne is a member of ASCAP.Official Website: www.robertvanhorne.comEmail: rvh@robertvanhorne.com
$15.99
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